Hoopla
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The hoopla , even Tam-Tam and Chau Gong, is a major Chinese flat gong with indefinite pitch, usually with a mallet is struck from felt. It consists of a flat plate-shaped disc, which is often made of bronze (with 80 percent copper and 20 percent tin ) and is usually almost 100, occasionally up to 150 centimeters in diameter. The edge of the disc is bent over. The instrument hangs on ropes in a metal stand.
The tam-tam is used sparingly in Chinese music and in classical opera and symphony orchestras : either softly to create a mysterious sound, or loudly at special climaxes. In the piano , its gloomy sound is used to support passages of a sad and eerie character, such as in the last movement of Mahler's Lied von der Erde or in the fourth movement of Tchaikovsky's Symphony Pathétique . The roaring sound of the forte struck tam-tam drowns out the whole orchestra and marks solemn, but also terrifying climaxes in serious pieces (e.g. the “Weltenbrand” at the end of Wagner's opera Götterdämmerung ). At the center of Karlheinz Stockhausen's Mikrophonie I (1965) is a large hoopla that is played by two musicians and then sampled with microphones by another four and electronically changed live. Tamtams are also used in Gaspare Spontini's opera La vestale and in Giacomo Puccini's opera Madama Butterfly .
The noise made by the percussion instrument is likely to have made the phrases hoopla about something and promoted a lot of hoopla . They came from French into German and are used linguistically in the sense of “cause a lot of excitement / do loud propaganda / attract a lot of attention”. Tamtam could also be called a sheet metal plate or other object that served as a replacement for a signal and assembly bell. In some spiritual and meditative exercises, the deep and soft-sounding tones of the tam-tam are felt to be beneficial.
The onomatopoeic word tamtam , like tomtom, is a reduplication .
Smaller, but similar in shape to a tam-tam, is the Sahn Nuhasi played in traditional Yemeni music .
Difference to the humpback gong
According to the Hornbostel-Sachs system , gongs are impact vessels in which the sound-generating vibrations increase to the center. Humpback gongs have a (mostly hemispherical) dome in their middle and are more curved at the edge than the tam-tams. The main difference is that a humpback gong has a specific pitch. In the case of a flat hoopla, this is expressly not desired. The tam-tam has a longer aftertaste.
Web links
Individual evidence
- ^ Neville H. Fletcher, Thomas D. Rossing: The Physics of Musical Instruments. Springer, Berlin 2008, p. 656
- ↑ James Blades, James Holland, Alan R. Thrasher: Gong. In: Grove Music Online, 2001
- ^ Catalog of works by Karlheinz Stockhausen. 2004 (PDF; 658 kB) ( Memento from March 19, 2018 in the Internet Archive ).
- ↑ Cf. Theodor Fontane : Der Stechlin . III. Chapter: "Engelke hit twice in the hallway on an old sign that acted as a hoopla that hung on one of the two protruding pillars that supported the entire staircase."